One of the aspects readers most commonly overlook when studying A Tale of Two Cities is the centrality of women in the story. The characters around whom the action revolves in both London and Paris are women: Lucie Manette, Miss Pross and Madame Defarge. Dickens also uses women throughout the book to represent the moral climate of a group or family. Although Dickens may not develop his female characters as fully as he does some of the male characters in A Tale of Two Cities, nevertheless, the women provide the men in the novel with an emotional foundation that causes the men to act for or react against what the women represent.
Dickens has recieved alot of criticism over his characterisation of Lucie Manette. Critics especially remark upon Lucie as the stereotypical Victorian heroine who is often emotionally reticent and faints under stress. Certainly, Lucie Manette is a passive character that some critics feel Dickens has failed to bring to life. For instance, she inspires love in almost every character around her as "the golden thread," but the reader must take this on faith as there is no dialogue or action to point to as proof of this. So, she is, in a sense, a catalyst for others, inspiring them to transform themselves.
On the other hand, Madame Defarge stands at the center of the revolutionary activity in Paris as an active agent of change, even when she is just sitting in the wine-shop and knitting her death register. Madame Defarge instigates hatred and violence, exemplified by her leadership in the mob scenes and the way The Vengeance and Jacques Three feed off of her desire to exterminate the Evrémonde line. Her patient ruthlessness helps to support her husband when he has doubts about the Revolution. In the end, however, her desire for revenge becomes something Monsieur Defarge reacts against as he recognizes that the killing must end somewhere.
Of all the three strong women portrayed in the novel, their common trait is their strength, however, this trait is derived differently for each character. Lucie Manette's strength is derived from compassion, which is what makes her Dickens' favorite character. Madame Defarge's might is derived from hatred and sorrow, which makes her a character that can be pitied and despised. Miss Pross is the character most loved by modern women for her love driven courage. Although all of these women have strength, each is different, and according to Dickens, Lucie Manette is the most admirable.
Miss Pross is the strongest figure of the three women, and is also the female character that is most favored by modern women because she is willing to risk everything for her beliefs. This is most evident during her encounter with Madame Defarge. Her courage is so great that she is able to place her life at risk and confront Madame head on -"Miss Pross, with the vigorous tenacity of love, always so much stronger than hate, clasped her tight, and even lifted her from the floor in the struggle that they had"
All three of these characters have shared traits, and it is clear that Dickens favors Lucie above all of the rest. Miss Pross is favored most by modern women more than Lucie is because of her independence, but Lucie would seem the ideal character in Dickens' time. Although Madame Defarge has earned some pity as well as admiration for her strength, her character is most hated because of her ruthlessness.
Dickens has recieved alot of criticism over his characterisation of Lucie Manette. Critics especially remark upon Lucie as the stereotypical Victorian heroine who is often emotionally reticent and faints under stress. Certainly, Lucie Manette is a passive character that some critics feel Dickens has failed to bring to life. For instance, she inspires love in almost every character around her as "the golden thread," but the reader must take this on faith as there is no dialogue or action to point to as proof of this. So, she is, in a sense, a catalyst for others, inspiring them to transform themselves.
On the other hand, Madame Defarge stands at the center of the revolutionary activity in Paris as an active agent of change, even when she is just sitting in the wine-shop and knitting her death register. Madame Defarge instigates hatred and violence, exemplified by her leadership in the mob scenes and the way The Vengeance and Jacques Three feed off of her desire to exterminate the Evrémonde line. Her patient ruthlessness helps to support her husband when he has doubts about the Revolution. In the end, however, her desire for revenge becomes something Monsieur Defarge reacts against as he recognizes that the killing must end somewhere.
Of all the three strong women portrayed in the novel, their common trait is their strength, however, this trait is derived differently for each character. Lucie Manette's strength is derived from compassion, which is what makes her Dickens' favorite character. Madame Defarge's might is derived from hatred and sorrow, which makes her a character that can be pitied and despised. Miss Pross is the character most loved by modern women for her love driven courage. Although all of these women have strength, each is different, and according to Dickens, Lucie Manette is the most admirable.
Miss Pross is the strongest figure of the three women, and is also the female character that is most favored by modern women because she is willing to risk everything for her beliefs. This is most evident during her encounter with Madame Defarge. Her courage is so great that she is able to place her life at risk and confront Madame head on -"Miss Pross, with the vigorous tenacity of love, always so much stronger than hate, clasped her tight, and even lifted her from the floor in the struggle that they had"
All three of these characters have shared traits, and it is clear that Dickens favors Lucie above all of the rest. Miss Pross is favored most by modern women more than Lucie is because of her independence, but Lucie would seem the ideal character in Dickens' time. Although Madame Defarge has earned some pity as well as admiration for her strength, her character is most hated because of her ruthlessness.
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